The Church of Sant’Andrea della Zirada, located in the Santa Croce sestiere of Venice, Italy, is a historic Gothic church situated in Campo Sant’Andrea, near Piazzale Roma and the Canal Grande, at the bend of the Canale di Santa Chiara. Founded in 1329 by four Venetian noblewomen as an oratory for a hospice for poor women, the church was rebuilt in 1475 and reconsecrated in 1502, acquiring a lavish Baroque interior in the 17th century. Known for its Venetian Gothic façade, adorned with a white Istrian stone portal and two 14th-century bas-reliefs, and its artworks by Domenico Tintoretto, Paris Bordone, and Paolo Veronese, the church is a testament to Venice’s charitable and artistic heritage. Currently used as a sculptor’s studio by Gianni Aricò and occasionally opened for exhibitions, it remains a hidden gem overshadowed by modern infrastructure like the People Mover and parking garages.
The Church of Sant’Andrea della Zirada, dedicated to Saint Andrew the
Apostle, has a rich history tied to Venice’s tradition of charitable
institutions and its strategic location at the city’s western edge.
Foundation and Early History (1329–1475):
Founded in 1329 by four
Venetian noblewomen—Elisabetta Soranzo, Marianna Malipiero, Elisabetta
Gradenigo, and Francesca Cornaro—the church began as a small oratory
attached to a hospice for poor women, reflecting Venice’s commitment to
social welfare, similar to the Church of Santa Maria delle Penitenti’s
mission for penitent women. The site, called “cao de zirada” (Venetian
for “bend” or “turn”), was named for the curve formed by the Canale di
Santa Chiara and another canal, or possibly for its role as a turning
point in regattas.
The project faced opposition from the nearby
Convent of Santa Chiara, but was completed in 1331 with support from the
Bonzio family. By 1347, the surviving founders, Soranzo and Malipiero,
along with seven other noblewomen, adopted the Augustinian Rule, placing
the hospice under the Doge’s patronage, enhancing its status.
The
original oratory was demolished in the second half of the 15th century,
replaced by a larger church rebuilt in 1475, reflecting the growing
needs of the community and the architectural trends of the time.
Reconstruction and Baroque Enhancements (1475–17th Century):
The 1475
reconstruction transformed the church into a Venetian Gothic structure,
with the façade as the primary surviving element. It was reconsecrated
in 1502, solidifying its role as a religious and charitable hub.
In
the 17th century, the interior was restored, acquiring a lavish Baroque
aesthetic with stucco decorations and a Gothic choir, aligning with the
opulent interiors of churches like San Lazzaro dei Mendicanti. The
convent and church were further embellished, reflecting Venice’s wealth
and artistic patronage during this period.
Napoleonic Suppression
and Decline (1806–20th Century):
During the Napoleonic occupation in
1806, the convent was suppressed, and its buildings were demolished,
leaving only the church. The site’s open views across the lagoon to the
Alps, once a highlight, were obscured by the construction of the railway
bridge (Ponte della Libertà) in the 19th century and modern
infrastructure like Piazzale Roma’s parking garages.
The church’s
role diminished, and by the 20th century, it was repurposed as a private
studio for sculptor Gianni Aricò, reflecting a shift from religious to
artistic use, similar to Palazzo Venier-Manfrin’s transformation into an
art foundation.
Modern Era and Recent Developments (21st
Century):
In 2015, the church was reopened for a public exhibition of
refrigeration technology for art preservation, marking a rare
opportunity to view its interior, as noted in a Venezia Blog post.
During the 2019 Venice Biennale, it hosted events like the Future World
exhibition (May–November 2019), showcasing its potential as a cultural
venue, akin to Santa Maria delle Penitenti’s Biennale exhibitions. A
Tripadvisor review from 2019 mentions its use for such events, though it
remains primarily Aricò’s studio.
A 2023 Tripadvisor comment
references a Touring Club Italiano (TCI) visit during restoration,
highlighting a Transfiguration of Christ monument by sculptor Giusto Le
Court, suggesting ongoing preservation efforts, possibly supported by
organizations like Save Venice Inc., which has funded over 500 Venetian
restorations since 1971.
As of June 2025, the church is not regularly
open, but occasional exhibitions and restoration visits, such as those
during FAI Primavera events, provide limited access, aligning with its
status as a “hidden gem” overshadowed by modern infrastructure like the
People Mover tram line.
The Church of Sant’Andrea della Zirada is a fine example of Venetian
Gothic architecture, with a Baroque interior, its design shaped by its
charitable origins and strategic canal-side location.
Exterior
Location and Façade:
Situated in Campo Sant’Andrea, the church faces
the Canale di Santa Chiara and is adjacent to the Canal Grande, near
Piazzale Roma (200 meters east) and Venezia Santa Lucia railway station
(490 meters northeast). Its coordinates are approximately 45°26′12″N,
12°19′54″E, accessible via the Piazzale Roma vaporetto stop (Line 6).
The façade, the primary surviving element from the 1475 rebuilding, is
constructed in exposed brick with Istrian white stone accents, typical
of Venetian Gothic churches like Sant’Aponal or San Giovanni in Bragora.
It is divided into three sections by pilasters linked by blind arches,
creating a simple yet elegant composition.
The main portal, a
highlight, features an ogival arch in Istrian stone with two
14th-century bas-reliefs:
Christ as Man of Sorrows (Pietà), depicting
the suffering Christ, a common Gothic motif.
The Calling of the
Apostles Saints Peter and Andrew, showing their summons from a fishing
boat, with details like the boat’s felze (cabin) exciting Venetian
maritime enthusiasts.
Above the portal, a figure of St. Andrew and a
monochrome rose window flanked by two mullioned windows add decorative
interest, similar to the rose windows in Church of the Holy Spirit’s
façade.
The campanile (bell tower), topped with an onion-shaped dome
resembling an Orthodox design, is a distinctive feature, contrasting
with the traditional Venetian campaniles of San Lazzaro dei Mendicanti
or Santa Maria delle Penitenti.
Modern infrastructure, including
Piazzale Roma’s parking garage and the People Mover tram line, obscures
the façade, reducing its visibility compared to canal-facing sites like
Palazzo Barbarigo or Palazzo Erizzo Nani Mocenigo.
Context and
Orientation:
The church’s location at the “zirada” (bend) of two
canals enhances its historical maritime significance, similar to Palazzo
Venier-Manfrin’s canal-side prominence. Its proximity to Ponte della
Costituzione (260 meters east) and Giardini Papadopoli places it in a
transitional zone between Venice’s historic core and modern entry
points.
The former convent buildings, demolished post-1806, once
formed a larger complex, akin to Santa Maria delle Penitenti’s hospice
wings, leaving the church as a standalone structure.
Interior
Layout:
The interior features a single nave with a plain ceiling,
typical of small to medium-sized Venetian churches from the late 15th
century, such as Church of the Holy Spirit or Santa Maria delle
Penitenti. The nave is compact, focusing attention on the high altar and
Gothic choir, which retains 17th-century stucco decorations.
A barco
(elevated gallery) on the counter-façade, supported by two original
Gothic wooden columns with buttresses, is a rare surviving feature, used
historically by nuns or hospice residents for secluded worship, similar
to the grilled galleries in San Lazzaro dei Mendicanti.
The choir
area, adorned with Baroque stucco, contrasts with the nave’s simplicity,
creating a rich liturgical space, though less opulent than San Lazzaro
dei Mendicanti’s Baroque interior.
Decorative Elements:
The
Baroque stucco work, added in the 17th century, includes ornate moldings
and possibly frescoed accents, enhancing the interior’s grandeur,
similar to Santa Maria delle Penitenti’s Massari-designed decorations.
The Transfiguration of Christ monument by Giusto Le Court, a
17th-century Flemish sculptor active in Venice, is a notable sculptural
feature, praised during a 2023 TCI visit for its dramatic Baroque
expression, adding to the church’s artistic value.
The interior’s
current use as a sculptor’s studio by Gianni Aricò introduces modern
artworks, though these are temporary and not part of the historical
decor, unlike the permanent frescoes in Palazzo Gradenigo or Palazzo
Venier-Manfrin.
The Church of Sant’Andrea della Zirada houses a significant
collection of Renaissance and Baroque artworks, reflecting its patronage
by Venetian nobility and religious orders.
Dead Christ between
St. Charles Borromeo and Angels by Domenico Tintoretto:
This
painting, likely an altarpiece, depicts the Pietà with St. Charles
Borromeo, a Counter-Reformation saint, and angels, showcasing Domenico’s
dramatic use of light and emotion, inherited from his father, Jacopo
Tintoretto. It parallels the emotional intensity of San Lazzaro dei
Mendicanti’s Tintoretto works, though on a smaller scale.
St.
Augustine with Two Angels by Paris Bordone:
Located in the nave or a
side chapel, this painting portrays St. Augustine, a key Augustinian
figure, with angels, rendered in Bordone’s vibrant Venetian Renaissance
style. Its rich colors and dynamic composition complement the church’s
Gothic-Baroque setting, akin to Church of the Holy Spirit’s Titian
altarpiece.
St. Jerome by Paolo Veronese (now in the Gallerie
dell’Accademia):
Originally in the church, this painting of St.
Jerome, a scholar-saint, was removed and is now housed in the Gallerie
dell’Accademia, reflecting the dispersal of Venetian church art
post-Napoleon. Its loss diminishes the church’s on-site collection but
underscores its historical significance, similar to Palazzo
Venier-Manfrin’s dispersed Giorgione collection.
Transfiguration
of Christ by Giusto Le Court:
This Baroque sculpture, noted during a
2023 restoration visit, depicts Christ’s transfiguration on Mount Tabor,
with dynamic figures and expressive detail, enhancing the church’s
sculptural heritage. It contrasts with the painterly focus of Santa
Maria delle Penitenti’s Tiepolo works.
Comparison to Other Sites:
Unlike San Lazzaro dei Mendicanti’s extensive collection (Tintoretto,
Veronese, Guercino) or Church of the Holy Spirit’s Titian and Palma il
Giovane, Sant’Andrea’s artworks are fewer but significant, with Domenico
Tintoretto and Bordone offering Renaissance depth and Le Court adding
Baroque drama.
Palazzo Contarini Dal Zaffo’s Giandomenico Tiepolo
frescoes and Palazzo Gradenigo’s Guarana and Fontebasso works are
secular, while Sant’Andrea’s art is sacred, aligning with its religious
function.
Palazzo Barbarigo’s external Murano mosaics and Palazzo
Erizzo Nani Mocenigo’s undocumented interior contrast with Sant’Andrea’s
internal focus, though its Veronese loss mirrors Venier-Manfrin’s
dispersed collection.
The Church of Sant’Andrea della Zirada embodies Venice’s charitable,
religious, and artistic heritage, offering a glimpse into its medieval
and Baroque past.
Charitable Mission:
Founded as a hospice for
poor women, the church reflects Venice’s social welfare tradition, akin
to Santa Maria delle Penitenti’s rehabilitation of penitent women, San
Lazzaro dei Mendicanti’s care for lepers, and Church of the Holy
Spirit’s convent school. The Augustinian Rule adoption in 1347
underscores its spiritual commitment, similar to the structured
environments of other Venetian institutions.
The noblewomen founders,
including Elisabetta Gradenigo (also linked to Palazzo Gradenigo’s
family), highlight women’s roles in Venetian philanthropy, a theme
echoed in the Zitelle or Pietà institutions.
Architectural
Importance:
The Venetian Gothic façade, with its Istrian stone portal
and 14th-century bas-reliefs, is a rare survivor of 15th-century
ecclesiastical architecture, comparable to Sant’Aponal or San Giovanni
in Bragora, and contrasts with the Renaissance simplicity of Church of
the Holy Spirit or the Baroque of Santa Maria delle Penitenti.
The
Baroque interior, with stucco and Le Court’s sculpture, reflects
Venice’s 17th-century opulence, aligning with San Lazzaro dei
Mendicanti’s Sardi-designed grandeur. The onion-domed campanile adds a
unique Eastern influence, akin to Palazzo Barbarigo’s Neo-Byzantine
mosaics.
Cultural Context:
Located in Santa Croce, near Ca’
Pesaro (1-minute walk), Palazzo Mocenigo (5-minute walk), and San
Giacomo dell’Orio (7-minute walk), the church is part of a vibrant yet
less tourist-heavy sestiere, similar to Palazzo Giovanelli and Palazzo
Gradenigo. Its proximity to Piazzale Roma makes it an entry point to
Venice, contrasting with the central San Marco (Palazzo Erizzo Nani
Mocenigo) or artistic Dorsoduro (Palazzo Barbarigo, Church of the Holy
Spirit).
The church’s hidden gem status, as noted in Tripadvisor and
Venezia Blog, stems from its obscurity behind modern infrastructure,
akin to Santa Maria delle Penitenti’s off-the-beaten-path appeal. Its
historical views of the lagoon, now lost, once made it a picturesque
destination, similar to Palazzo Venier-Manfrin’s garden park.
Artistic Legacy:
The Domenico Tintoretto, Paris Bordone, and Giusto
Le Court works place the church among Venice’s notable art repositories,
though its collection is smaller than San Lazzaro dei Mendicanti’s or
Church of the Holy Spirit’s. The Veronese painting’s relocation to the
Accademia reflects Venice’s post-Napoleonic art dispersal, akin to
Palazzo Venier-Manfrin’s losses.
Recent exhibitions (2015, 2019) and
restoration visits (2023) highlight its emerging cultural role,
paralleling Palazzo Gradenigo’s Art Refinery or Palazzo Venier-Manfrin’s
Kapoor Foundation.
Current Role:
The church serves primarily as the studio of
sculptor Gianni Aricò, a private artistic space, limiting regular public
access, similar to Palazzo Erizzo Nani Mocenigo’s private residence or
Palazzo Contarini Dal Zaffo’s clerical function.
Occasional
exhibitions, such as the 2015 refrigeration technology display and 2019
Future World during the Venice Biennale, open the church to visitors,
aligning with Santa Maria delle Penitenti’s Biennale events. A 2023 TCI
visit during restoration, noted on Tripadvisor, suggests ongoing
preservation, possibly with Save Venice Inc.’s involvement.
The
former convent’s demolition leaves the church as a standalone structure,
unlike the intact complexes of Santa Maria delle Penitenti or Church of
the Holy Spirit.
Visiting:
The church is not regularly open,
with access limited to special events, exhibitions, or restoration tours
(e.g., FAI Primavera or TCI visits). Visitors should check with local
sources like invenicetoday.com or historywalksvenice.com for updates, as
hours are irregular, similar to Church of the Holy Spirit’s schedule.
Located at Campo Sant’Andrea, Santa Croce, it is a 2-minute walk from
the Piazzale Roma vaporetto stop (Line 6) and 5-minute walk from Venezia
Santa Lucia station, making it highly accessible, akin to Palazzo
Giovanelli’s proximity to San Stae. Nearby attractions include Ca’
Pesaro (1-minute walk), Ponte della Costituzione (260 meters), and
Giardini Papadopoli (5-minute walk).
Tripadvisor reviews (2019–2023)
rate it modestly (no specific score due to low review count), praising
its Gothic façade, bas-reliefs, and exhibition potential, but noting its
locked doors and obscurity behind parking garages. A 2019 review
mentions attending a mass with “beautiful Roman Catholic chant,”
suggesting rare religious use.
Admission is typically free during
exhibitions or visits, with donations encouraged, similar to San Lazzaro
dei Mendicanti or Santa Maria delle Penitenti. Visitors should respect
its studio function and ongoing restoration.
Challenges:
Acqua
alta (tidal flooding) threatens the church’s ground floor, as seen in
the November 2019 flood, though its elevated design mitigates damage,
similar to Palazzo Barbarigo or Church of the Holy Spirit.
Modern
infrastructure, including the People Mover and parking garages, obscures
the church, reducing its appeal compared to canal-facing sites like
Palazzo Erizzo Nani Mocenigo or Palazzo Venier-Manfrin.
Limited
access and low visibility, due to its studio use and irregular openings,
make it less known than San Lazzaro dei Mendicanti or Palazzo
Gradenigo’s rental, but its hidden gem status attracts dedicated
visitors, as noted in Venezia Blog.